We also have several other factory service manuals and.Last summer I finally bought myself one of my dream cameras, the Plaubel Makina 67. The RZ67 Pro II D offers imaging in its 6 x 7cm format and a revolving back mechanism enabling easy horizontal and vertical composition.Rack and pinion bellows focusing supports close-up to infinity focus with RZ lenses without the need for adapters.Factory parts list and diagrams for the 65mm f4 lens for the Mamiya 7 rangefinder camera system. Mamiya RZ67 IID Body with 120 magazine and 110mm lens.
This lens out shines the Nikkor glass with its contrast and sharpness as well as the fact that you get more than a 1:1 magnification ratio.Mamiya RB67 150mm f4.0 SF C Lens 34008 Ships in 1-2 days Our Price: 69.00. However, the best results have come from using on my D7000 and D800e. Over a year later, and that’s exactly what I’ve done.Ive used this lens on a number of cameras including the Mamiya 645 which it is intended for. He wanted to loan me Mamiya 7 so I could compare these two medium format giants.
It was at this year’s Photography Show when we finally met and he handed it to me. Of course, it’s rare I get such offers, but despite his generosity, it still took me a good 6 months to take him up on it. 1 in stock Excellent Mamiya TLR 80mm f2.8 Hood (48) 35436 Usually Ships in 1 to 2 DaysAnais is someone I’d been chatting to for a little while on Instagram when he got in touch and asked if I’d like to try his Mamiya 7.
As I talk about in the Makina review, I find its size and weight only just on the right side of palatable. The most relevant to this post is my view that I’m not really a medium format person. Shooting the Makina 67 proved a few things to me.
The second was that the rangefinder patch in the Mamiya 7 is excellent. The first was that he thinks the 80mm lens is sharper than the Nikkor on the Makina. The bigger they are, the less I find myself inclined to carry them… so I certainly wasn’t going to be happy carrying a bigger camera and two extra lenses.As I remember it, Anais wanted me to try the Mamiya 7 for a couple of reasons.
To me, medium format cameras are best suited to subject matter that’s suited to the fact that all that extra film brings more clarity to the party.The subject matter I enjoy shooting with medium format cameras is landscapes. I say this fairly objectively, but subjectively I also much prefer this type of rangefinder patch and would actually go as far to say that I find the soft edged patch found in the Makina 67 and cameras such as the Canon P makes them quite a bit more difficult to use… at least as rangefinder cameras.The reason it doesn’t matter so much to me when it comes to medium format gear is simply what I would choose to use these types of camera for. The hard-edged more distinct rangefinder patch the Mamiya offers is definitely of a higher standard than the Makina.
But that’s just not what I’m interested in shooting these cameras for, so it feels largely irrelevant to me.So what about the lens then? Surly if Anais is right that it is higher resolution, I’ve just made a pretty good argument for a preference for the Mamiya 7 lens? In reality, to my eye, the difference is negligible, though looking at the detail rendered in this next image I suspect Anais might be right about the lens being higher resolution.That said, if asked to tell images from the two cameras apart blind, I’m fairly certain I couldn’t. And if I’d borrowed the 150mm lens off of Anais and had pursued some portraiture then I’m certain I’d have benefitted from being able to focus easier. In fact, for all but a few of the shots I’ve taken with either Makina 67 or Mamiya 7, I’ve scale focused, and where I’ve needed the rangefinder, I’m mostly been shooting at a reasonable distance where accuracy isn’t paramount anyway.Of course, your mileage may vary.
Not that I’ve used it at 2.8 much, but all other things being equal, a 2.8 lens is going to have some slim advantage over an f/4 lens once in a while. Both Mamiya 7 and Makina 67 lenses are modern enough that combined with the added real estate of the film, the results have an effortless 3-dimensionality to them.And so with them being pretty much equal in that regard, actually the slim benefit of the Makina 67 lens being a f/2.8 swings favour it’s way anyway. The 3D pop that medium format brings to the table is very visible to me even when the images are viewed quite small on a computer screen.
In the end, I resolved to take the Mamiya 7 on a couple of holidays with me and even then had to almost force myself to shoot it. To me, there is nothing particularly comfortable about the idea of carrying the Mamiya 7 – the lens just pokes out too far. An element of this might have been due to a dwindling sense of excitement about cameras that I’ve suffered over the course of this year, but actually, more than anything else, as soon as the Mamiya 7 came home with me I had the sense I was going to struggle with taking it out.The collapsible lens of the Makina 67 swings an incredible amount of favour its way. Makina 67 0:0 Mamiya 7 The sizeThere really is no getting past the fact that Anais’s Mamiya 7 stayed in my camera cupboard for a long time before I took it out. And, unfortunately for the Mamiya, this early position of 0:0 draw is almost moot, as the rest of the game involves it getting a bit of a shoeing. As I’ve said, I’ll concede that Anais was right about both the above factors, but for my personal usage case – and that really is all I’m talking about here – both “advantages” the Mamiya 7 brings don’t really add anything to my shooting experiences.
Mamiya 80Mm F4.0 Lens For Mamiya 7 Ii Portable In A
Makina 67 1:0 Mamiya 7 Battery relianceThe Mamiya 7 is a much more “modern” camera than the Makina 67. Again, this means that for my personal usage case, the Makina 67 wins this round. This means that I can quite comfortably lug it around with the family in tow and just get it out when I need/want to without too much bother. Unfortunately, for the likes of the Mamiya 7, I rarely get out to shoot by myself like this.The Makina 67 on the other hand is transportable in a small shoulder bag. What I realised on the occasion I was wondering around the Herefordshire side of the Welsh border was that provided I am out by myself and don’t have a pair of kids, a pair of dogs or a Hannah with me, carrying a slightly bigger camera isn’t too much of an issue. This certainly wouldn’t have been the case if I’d been carrying it with the extra lenses Anais tried to force on me, but with the 80mm it was ok provided I was out by myself with the sole intention to shoot it.
It allows me to act quickly to get good exposure, compose and shoot with little thought.I’m sure you know what I’m going to say next though…? This just isn’t a feature I need on a medium format camera that I shoot mostly for landscapes. I love this on the Hexar at the moment, just as I did on the Leica M7. This allows the photographer point the camera at the subject for metering, half press and hold the shutter button to lock in exposure, reframe and shoot.
But, its simplicity as a camera still wins it a point over the Mamiya 7 here. In fact, I’d probably be happier with the Makina if it didn’t have a meter at all. I don’t need a medium format camera with AEL. For me, it’s more basic than that, I just prefer simple cameras that don’t do stuff that I don’t really need. But read back my Makina 67 review and you’ll find I didn’t even bother to put batteries in it.Rest assured though, I’m not even going to pin this on the whole “if it runs out of batteries when I’m out shooting I’m screwed” thing that is often perpetuated about battery reliant cameras.
Personally though, despite me not being worried about a battery dying on me when I’m out shooting, I am increasingly worried about terminal camera failure. I mentioned this in my review.
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